Ed Andrews

It's a personal choice. I won't bore you with all the details but the EVA1 is a head choice - pure business - but it would mean using EF stills glass whereas this would let me use my s16 superspeeds (heart choice) and still get tasty 4k - and hopefully 12bit instead of 10.

It's a personal choice. I won't bore you with all the details but the EVA1 is a head choice - pure business - but it would mean using EF stills glass whereas this would let me use my s16 superspeeds (heart choice) and still get tasty 4k - and hopefully 12bit instead of 10.

It's a personal choice. I won't bore you with all the details but the EVA1 is a head choice - pure business - but it would mean using EF stills glass whereas this would let me use my s16 superspeeds (heart choice) and still get tasty 4k - and hopefully 12bit instead of 10.

I certainly see chromatic aberration on some of my old s16 - zeiss 12-120(10-110) and Angenieux 150-150 - but I'm not fussed by it. I shoot with them to get a particular 'classic' look, not to get a super clean and pristine image.

There is just something about that BM Super 16 sensor that is magical. I look back at stuff that I shot with the Pocket and think "Damn that was one of my favorite looking videos."

This looks amazing. Really gets that super16 feel.
I've been shooting a series of docs with bmmcc and zeiss 12-120. Here's one. It comes out a bit sharper than the Angeniuex but still love the whole combo with old s16 glass
 

This looks amazing. Really gets that super16 feel.
I've been shooting a series of docs with bmmcc and zeiss 12-120. Here's one. It comes out a bit sharper than the Angeniuex but still love the whole combo with old s16 glass
 

This looks amazing. Really gets that super16 feel.
I've been shooting a series of docs with bmmcc and zeiss 12-120. Here's one. It comes out a bit sharper than the Angeniuex but still love the whole combo with old s16 glass
 

This looks amazing. Really gets that super16 feel.
I've been shooting a series of docs with bmmcc and zeiss 12-120. Here's one. It comes out a bit sharper than the Angeniuex but still love the whole combo with old s16 glass
 

This looks amazing. Really gets that super16 feel.
I've been shooting a series of docs with bmmcc and zeiss 12-120. Here's one. It comes out a bit sharper than the Angeniuex but still love the whole combo with old s16 glass
 

This looks amazing. Really gets that super16 feel.
I've been shooting a series of docs with bmmcc and zeiss 12-120. Here's one. It comes out a bit sharper than the Angeniuex but still love the whole combo with old s16 glass
 

Regardless of your lighting, other factors will affect skintones. You can have an LED with 100 CRI but if the person is sitting at a large orangey wood table, the light is going to be bouncing off that and giving a slight orangey cast to the face. Same with red carpets, snotty green sofas, big blue walls, etc. Sometimes you will have to tweak in post. I'm no expert but I always key the skintones in resolve, tweak hue vs hue and desaturate a bit, always helps.

Regardless of your lighting, other factors will affect skintones. You can have an LED with 100 CRI but if the person is sitting at a large orangey wood table, the light is going to be bouncing off that and giving a slight orangey cast to the face. Same with red carpets, snotty green sofas, big blue walls, etc. Sometimes you will have to tweak in post. I'm no expert but I always key the skintones in resolve, tweak hue vs hue and desaturate a bit, always helps.

Regardless of your lighting, other factors will affect skintones. You can have an LED with 100 CRI but if the person is sitting at a large orangey wood table, the light is going to be bouncing off that and giving a slight orangey cast to the face. Same with red carpets, snotty green sofas, big blue walls, etc. Sometimes you will have to tweak in post. I'm no expert but I always key the skintones in resolve, tweak hue vs hue and desaturate a bit, always helps.

Regardless of your lighting, other factors will affect skintones. You can have an LED with 100 CRI but if the person is sitting at a large orangey wood table, the light is going to be bouncing off that and giving a slight orangey cast to the face. Same with red carpets, snotty green sofas, big blue walls, etc. Sometimes you will have to tweak in post. I'm no expert but I always key the skintones in resolve, tweak hue vs hue and desaturate a bit, always helps.

There is some truth to this that perception is reality. You turn up to shoot with big camera and some clients will think 'they must be really good' but equipment is not just a camera - it's lighting, lenses, grip, etc - and ultimately you'll be judged on the work you deliver. I've occasionally had clients mention about camera when I've been shooting stuff on A7s and I explain why it is the most suitable for that particular shoot. And also offer that I can shoot it on an Amira if they want to shell out the extra £400 a day!

This one is like the glidearm but a lot cheaper... (from 700$ to 300$)
https://www.came-tv.com/products/came-tv-folding-arm-slider-sl02
Still, it seems easier to use a proper head on Edelkone's wing but it is an expensive product without any assurance of how it's going to perform.

I feel I've incrementally thrown way too much money at the BMMCC to get it functioning - vintage super16 lenses, SmallHD 502, Small Rig cage, rods, Mattebox, IRND - and now looking at shouldermount/lanc trigger options. Still most of this stuff can/will be used for other rigs in future so if you look at it as brain only, it still works out to be good value..

I feel I've incrementally thrown way too much money at the BMMCC to get it functioning - vintage super16 lenses, SmallHD 502, Small Rig cage, rods, Mattebox, IRND - and now looking at shouldermount/lanc trigger options. Still most of this stuff can/will be used for other rigs in future so if you look at it as brain only, it still works out to be good value..

Shot this new music video/short film in a day on BMMCC w/ Angenieux 15-150 f1.9. I love the feel this combo gives the image. Pure nostalgia!
 

Its shape reminds me of a xenomorph's head, but not in a good way.
I'm sure this will be a great camera to work with, shoot great images, do the job in many ways, etc, but as with all Canon cameras, the pricing and specs vs. that of its competitors just seem very underwhelming. If I had that sort of money ready to spend, I would choose an Amira

Its shape reminds me of a xenomorph's head, but not in a good way.
I'm sure this will be a great camera to work with, shoot great images, do the job in many ways, etc, but as with all Canon cameras, the pricing and specs vs. that of its competitors just seem very underwhelming. If I had that sort of money ready to spend, I would choose an Amira

Its shape reminds me of a xenomorph's head, but not in a good way.
I'm sure this will be a great camera to work with, shoot great images, do the job in many ways, etc, but as with all Canon cameras, the pricing and specs vs. that of its competitors just seem very underwhelming. If I had that sort of money ready to spend, I would choose an Amira

Its shape reminds me of a xenomorph's head, but not in a good way.
I'm sure this will be a great camera to work with, shoot great images, do the job in many ways, etc, but as with all Canon cameras, the pricing and specs vs. that of its competitors just seem very underwhelming. If I had that sort of money ready to spend, I would choose an Amira

Great work! Very fresh